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ALBUM REVIEWS

Ricky
Lynch has spent more years than anyone can care to remember entertaining
people in bar rooms and venues far and wide. His cast repertoire
includes some of the finest moments of roots, folk and rock 'n' roll.
Now Lynch finally gets to present an album of original tracks to the world.

Lynch should really have nothing to prove, but in his quietly
understated way he reveals a breadth of musical styles over the course of
Cant Stand Sitting Down. No country can stir the
romantic and artistic soul quite like the USA, and Can't Stand Sitting Down
is steeped in its lore and musical heritage.

There's a subtle range
of styles here, from depression era folk to acoustic swing blues.
There's even time to fit in a gentle Tijuana melody in Down On
Mexico. While a lot of the richness of this musical palette
comes courtesy of producer Johnny Scott, it is held tightly together by
Lynch's plaintive voice.

In love and life, Lynch's voice speaks for
underdogs, reckless gamblers and doomed mavericks. Just Lies
Again is a bitter lament for the betrayals heaped upon Native
Americans by their white conquerers. The Devil On Your Trail
has something of the libidinous quality of its philandering blues man.
Some of the songs chime with such authenticity that you have to remind
yourself that these are originals. Pray To St. Anthony
and Darling Rose are vivid essays of desparation and hope,
but Lynch saves his best for last with On A Winter's Afternoon.

Album Review by Don O'Mahony

LEGEND has it there were four highwaymen, Johnny Cash,
Waylon Jennings, Wille Nelson and Kris Kirstofferson, who together - and
when riding solo - fought the good fight for country music, all the time
shooting from the hip.

That is the myth of course, for there's
another, Ricky Lynch, who though never in the gang was doing his bit for the
cause in a different land. Now finally, we have an album from the
Lynch Mob leader.

Like his brethern across the Atlantic, his songs
have that passion, rhythm and storytewlling that only a musician with pure
belief in his songs can have.

On Just Lies Again he
lays bare the hurt caused by the Western man to the native Indians, while
Margarite And The Gambler is a song a young Bob Dylan would
have been more than happy to call his own.